
c| l ===== mm H ^| 

COPYRIGHT, 1893, BY WALTER H. BAKER & CO. 



piays for /Amateur Sfyeatrieals. 

BY GEORGE 7^. BKKER, 

Author of "Amateur Dramas" "The Mimic Stage" "The Social Stage" "The Drawing- 
Room Stagey "Handy Dramas]' "The Exhibition Dramas," "A Baker's Dozen," etc. 

Titles in this Type are New Plays. 

Titles in this Type are Temperance Plays. 



DRAMAS. 

hi Four A cts 
Better than Gold. 7 male, 4 female 



char 



In Three Acts. 

Our Fnllts. 6 male, 5 female char. 

The Flower of the Family. 5 
male, 3 female char 

Eniisted for the War. 7 male, 3 fe- 
male char 

My Brother's Keeper. 5 male, 3 fe- 
male char. 

The lAttle Brown Juy. 5 male, 3 
female char 



Wtt Two Acts. 
Ahove the Cloud*. 7 male, 3 female 



char 



One Hundred Years Ago. 7 male, 

4 female char 

Among the Breakers. 6 male, 4 female 

char 

Bread on the Waters. 5 male, 3 female 

char 

Down by the Sea. 6 male, 3 female 

char 

Oncb on a Time. 4 male, 2 female char. 
The Last Loaf. 5 male, 3 female char. 

In One A ct. 
.stand by the Flag. 5 male char. . . 
The Tempter. 3 male, 1 female char. 

COMEDIES AND FARCES. 

A Mysterious Disappearance. 4 

male, 3 female char 

Paddle Your Own Canoe. 7 male 

3 female char. .,..,.... 
A- Drop too Much. 4 male, i female 

char 

A Little More Cider. 5 male, 3 fe- 
male char 

A Thorn Among the Roses. 2 male, 6 
female char 

Never Say Die. 3 male, 3 female char. 

Seeing the Elephant. 6 male, 3 female 
char. 

The Boston Dip. 4 male, 3 female char. 

The Duchess of Dublin. 6 male, 4 fe- 
male char. ...... .... 

Thirty Minutes for Refreshments. 

4 male, 3 female char, o . . • • • 
We're nil Teetotalers. 4 m"' 1e > 2 fe- 
male char 

Male Characters Only. 
k Close Shave, ft char. ...... 

A. Public Bene factor. 6 char. ■> . • 
h Sea of Troubles. 8 char. .... 



COMEDIES, etc., continued. 

Male Characters Only. 

A Tender Attachment. 7 char. . . 15 

Coals of Fire. 6 char. ...... 15 

Freedom of the Press. 8 chat. . . . 15 

Shall Our Mother* Vote.? 11 char. 15 

Gentlemen of the Jury. 12 char. . . 15 

Humors of the Strike. 8 char. ... 15 

My Uncle the Captain. 6 char. . . . 15 

New Brooms Sweep Clean. 6 char. . 15 

The Great Elixir. 9 char 15 

The Hypochondriac. 3 char 15 

Ihe Man with the Uemijohn. 4 

char 15 

The Runaways. 4 char 15 

The Thief of Time. 6 char 15 

Wanted, a Male Cook. 4 char. ... 15 

Female Characters Only. r 

A Love of a Bonnet. 5 char 15 

A Precious Pickle. 6 char .15 

No Cure No Pay. 7 char 15 

The Champion of Her Sex. 8 char. . 15 

The Greatest Plague in Life. 8 char. 15 

The Grecian Bend. 7 char. .... 15 

The Red Chignon. 6 char 15 

Using the Weed. 7 char 15 

ALLEGORIES. 

A rrangedfor Music and Tableaux. 

Lighthart's Pilgrimage. 8 female 

char. 15 

The Revolt of the Bees. 9 female 

char 15 

The Sculptor's Triumph, i male. 4 fe- 
male char. 15 

The Tournament of Idylcourt. 10 fe- 
male char 15 

The War of the Roses. 8 female char. 15 

The Voyage of Life. 8 female char. . 15 

MUSICAL AND DRAMATIC. 

An Original Idea, i male, 1 female 15 

Bonbons; or, the Paint King. 6 male, 

1 female char 25 

Capuletta; or, Romeo and Juliet 15 

Restored. 3 male, 1 female char. . 15 

Santa Claus' Frolics 15 

Snow-bound; or, Alonzo the Brave, 
and the Fair Imogene. 3 male, 1 

female char. 25 

The Merry Christmas of the Old 

Woman who Lived in a Shoe- ... 15 

The Pedler of Very Nice. 7 male 

char. ■ . ". 15 

The Seven Ages. A Tableau Entertain- 
ment. Numerous male and female char. 15 

Too Late for the Train. 2 male char. 15 

The Visions of Freedom, if female 

char. • • *5 



= 



WALTER H. BAKER & CO., 23 Winter St., Boston. 



MUSIC vs. ELOCUTION 



3 Negro Sftetcjj in ©ne Scene 



AS PERFORMED BY 
SCHOOLCRAFT AND COES 



ARRANGED AND EDITED FOR PUBLICATION, WITH ALL THE 
ORIGINAL "GAGS" AND STAGE BUSINESS 



BY 



GEORGE H. COES 




BOSTON 

imut i ■■■■■■ ■ in-" "i >•*•>. iimnr, n «•■■< ■■■•hinrMII n M 
1893 







^e> 1 



3 .■". 



*& 



CHARACTERS. 

^45 originally performed at the Theatre Comiaue, Broadway, 
New Tork, in 1867. 

PROFESSOR Mr. George H. Coes 

PUPIL Luke Schoolcraft 



Copyright, 1893, by Walter H. Baker & Co. 




TMP92-008884 



MUSIC vs. ELOCUTION. 



Scene. — Plain Chajnber in 3. 



(PROFESSOR discovered playing violin ; table and chairs, C. ; books, 
manuscripts and banjo on table.) 

Professor. Well, this is a very dull day, and business more 
so. I have opened a school for the purpose of teaching music and 
elocution, also, the art of perfecting singers and actors for the 
stage. Thus far my efforts have not been very profitable ; however, 
I will persist in establishing a school, and by strict attention and 
patience I may succeed in raising a full class. (Knock at door in 
flat.) Ah; some one at the door. " Open locks, whoever knocks." 
(Enter Pupil.) Well, sir, what do you want ? 

Pupil. Noffin. 

Professor. Well, take it and begone. 

Pupil. I ain't got it yet. 

Prof. Who sent you here ? 

Pup. My mother sent me here. Don't you know my mother ? 

Prof. I cannot say I do. What's your name ? 

Pup. George Washington. 

Prof. George Washington what? 

Pup. No, not what ; George Washington — my mother knows 
you. 

Prof. Well, who is your mother? 

Pup. She's a lady ; don't you know who she is ? 

Prof. No, you blockhead. 

Pup. (aside). I'll bother the life out of him. (To Prof.) She 
told me to tell you that you knowed her first-rate. 

Prof. Well, if you will tell me her name, perhaps I may. 

Pup. She didn't send it with me to-day, but next time I come, 
I'll bring it. Do you know my mother now ? 

Prof. Send what with you. 

Pup. She said she heard you was a swindler. 

Prof, (getting excited) . What's that you say? 

Pup. She said she didn't believe you would swindle anybody ; 
that you was a very nice man. 

Prof. Confound you, what do you mean? What's your name? 
what's your mother's name ? and what do you want ? 



4 MUSIC VS. ELOCUTION. 

Pup. I told you. My name is George Washington — you know 
me now, don't you? 

Prof. Why, you impudent scoundrel ! This is beyond endur- 
ance. 

Pup. My mother says you needn't be in a hurry ; she can get 
along a month or so. 

Prof. Will you explain, before I lose my temper? 

Pup. She said she was sorry you did not say something to her 
before you took your trunk away. 

Prof. Look here, you rascal; if you don't quit this nonsense, I 
won't be responsible for what I do to you. 

Pup. She said she didn't care about the trunk so much, but 
she had to pay another woman to do the washing. 

Prof, {very mad'). I'll tear you all to pieces ! 

Pup. She don't want to have you arrested, for she knows you 
have'nt got a cent. 

Prof. Clear out, you booby ! 

Pup. My mother says you can give me some lessons, and you 
can pay her that way. She could put you in jail, if she wanted to. 

Prof. If you don't clear out, I'll whip you within an inch of 
your life ! 

Pup. She said she would like them silver napkin rings brought 
back. You can keep the napkins. The rings was marked Johanna 
Gibson, but the name was washed out on the napkins. Does you 
know my mother now ? 

Prof. So your mother's name is Johanna Gibson? 

Pup. Yes ; I'm my mother's son. She said she could wait for 
the board bill, if you would pay the wash bill first. You know my 
mother now, don't you? 

Prof. Yes ; I know your mother, but she has charged me with 
things I am perfectly innocent of. 

Pup. Yes ;' she said she'd ought to charged you more, but you 
looked so innocent, she didn't think you would steal. 

Prof. Why, confound you ! I never took a single thing from 
your mother 

Pup. No; that's the worst of it. You took two or three of a 
kind. 

Prof, Don't you know you are liable to be arrested for slander? 

Pup. My mother says she can prove it. 

Prof, {aside). Confound this fellow's impertinence! His 
mother has been accusing some one, and he takes me for the 
person. Well, George Washington Gibson, I shall take the ear- 
liest opportunity of visiting your mother and have this matter 
explained. 

Pup. Yes, do ; we've got a large bulldog waiting for you when 
you come. 

Prof. Why, you insulting scoundrel ! Where's my whip ! 

Pup. Hold up, Professor, I was only joking. My mother is 
satisfied you didn't take the things, 'cause she found out who it 



MUSIC VS. ELOCUTION. 5 

was, and she wolloped me like thunder ! IVe come to study to 
be a executionist. 

Prof. Oh, you wish to become an elocutionist. 

Pup. Yes ; you see I belong to an Amateur Club — 

Prof. You wanted to be fitted for the stage. You want to be- 
come an actor? 

Pup. Yes, sir, I want to be an actor. 

Prof. What would you like to study? Tragic, comic, melo- 
dramatic or pantomimic ? 

Pup. Yes, sir; I want to be one of them fellows what come in 
with a long dagger and kills three or four men an' women, and get 
away with 'em. 

Prof. You want to become a melo-dramatic actor. What 
kind of a voice have you got? 

Pup. Oh, Pve got a scrouging voice for hollering fish-balls. 

Prof. No, no ; let me hear you say something ? 

Pup. Yes, sir ; a little brandy and water — that suits me. 

Prof. That's all very well when you're asked to drink. Recite 
something from Shakespeare — something after this style. " Lay 
on, Macduff, and damned be he who first cries hold ! enough! " 

Pup. {little frightened, but fixes himself). Lay on, Mickey 
Duffey. » 

Prof, {pushes him down, violently'). Who said anything 
about Mickev Duffey? I said: "Lay on, Macduff, and damned 
be he who first cries hold ! enough ! " 

Pup. Well, hold ! I've got enough. I yield. 

Prof. That's what I want you to say. 

Pup. Weil, let's say something where there's no knocking down 

Prof. I see you know nothing of Macbeth. Now did you ever 
see the play of Hamlet ? 

Pup. Ah, now you're talking. That's where I can show my 
acting I played Mrs. Toodles in Hamlet once. 

Prof. Mrs. Toodles in Hamlet? you fool! § 

Pup. Oh, no; that ain't it. That was Mrs. Toodles in the 
Colleen Bawn, wasn't it. ' ■ , 

Prof. No, you blockhead; let me give you a little of the plot ot 
Hamlet. You must know mv father was King of Denmark. 

Pup Get out! King Bismarck! I know your father— he 
keeps a junk-store down in Baxter St. You can't fool me ! 

Prof. One day, while sleeping in his orchard — 

Pup. An orchard in a junk shop ? . 

Prof. My uncle stole with juice of cursed hebanon in a vial, 
which into the porches of his ear did pour,— p 

Pup. Couldn't he just as well get in the alleyway, or m de back 
door, without climbing over the porch ? 

p ROF —Which holds such an enmity with blood of man, that, 
swift as quicksilver, it courses through the natural gates and alleys 
of the body. 



6 MUSIC VS. ELOCUTION. 

Pup. Oh, he did get in de alleyway, after all. I see ; he poured 
Juniper juice in his ear, and cooked his mutton. 
Prof. No! Bullhead! 
Pup. Well, I never knew that Beef-fore. 
Prof. It killed my father. 
Pup. Oh, your father was a Bull. 
Prof. Now, you must bear in mind that I am crazy. 
Pup. I should say you was. Good-morning. 
Prof. Where are you going? 
Pup. You s'poseTm going to stay here wid a crazy man. No, 



sir 



Prof. I want you to suppose I am crazy. 

Pup. I've been supposing that all along. 

Prof. Pshaw ! You know nothing of Hamlet. Did you ever 
see the play of Richard III. ? 

Pup. Yes, indeed ! ! ! I kn ow all about Richard. 

Prof. Well, now give me a description of the first scene of 
Richard. 

Pup. The first scene of Richard is laid in Paris. The scene is 
a rustic chamber. Richard is seen reclining upon his left duke in his 
bud-war, in a very languishing manner. Presently he rings a small 
silver bell, and calls his man John to him, who responds. 

Prof. This is Richard ? 

Pup. Yes; John approaches, and Richard says, "John, bring 
me a double stew.' 1 

Prof. This is Richard ? 

Pup. Yes ; and Hawkshaw, the Detective, he is seen looking 
over the top of the window ; and Joe Blueskin blows his whistle and 
comes on, and Hawkshaw sings out, " Joe, how is it, old boy?" and 
Joe Blueskin says, " All right, my covey 1 ' — 

Prof. This is Richard? 

Pup. Yes ; then Richard smells around, and he j steals out of the 
back door, and runs to the stable, and saddles up his favorite steed. 

Prof. This is Richard? 

Pup. Yes ; and he mounts upon his favorite horse, and goes 
forth from the castle, and wanders way off through the woods among 
the snow. By and by he becomes exhausted, and falls from his 
horse, and the lonely man of the mountain comes out and discovers 
Richard asleep with his horse beside him. So he stoops down to 
raise Richard up, so. (Professor kicks him over ; very mad.) 

Prof. And did he succeed in raising Richard up ? 

Pup. (on the floor). No ; Richard remaineth where he were. 

Prof. A very graphic discription of Richard. You know 
nothing of Shakespeare. I'll try you on the melo-dramatic art. 
Now, the scene is a dark wood. You are a rich man. 

Pup. Oh ! what a lie dat is ! 
Prof. You have a large sum of money about you. 
Pup. I haven't got a cent — search me. 

Prof. You are returning home, and you pass through this wood. 
Now, I am a tramp. 



MUSIC VS. ELOCUTION. 7 

Pup. You are, hey ? You'd better keep out of New Jersey. 

Prof. Or, in other words, I am a poor cotton-spinner out on a 
strike. 

Pup. Well, don't strike me. For you won't get a cent. 

Prof. I have a wife and children, who are starving. 

Pup. Oh, no ; you ain't got no wife. 

Prof. Well, I merely play this. 

Pup. Well, you better not play that too often ; if you do, they'll 
arrest you for bigamy. There's a place up on the Island for all such 
ducks as you. 

. Prof. Nonsense ! Listen. I meet you in this wood, and de- 
mand of you money for my starving family. 

Pup. Not a sou mar-kee. 

Prof. You refuse me. 

Pup. You bet I do. 

Prof. I seize you by the throat ; I kill you ; then I rifle your 
pockets, drag you to a high cliff and throw you over. You are 
dashed to pieces among the rocks a thousand feet below. 

Pup. You do ? Well, you don't ! 

Prof. - This is only in the play. I'm caught in the act ; I am 
arrested, tried and sentenced to be hung. 

Pup. Serves you right ! You'd ought to be hung, and there's a 
good many more in the country that ought to be served the same 
way. 

Prof. Now you walk from there {points) across the stage. I 
will stop you and say, "John Delmonico, thou art rich. I would 
have money for my starving family. Give me money, or you die !" 
Then you strike an attitude, and shout, " Never ! away ! base rob- 
ber. I dispute thy demands ! " 

Pup. All right ! Do I beat the base drum in this piece ? 

Prof. No, you fool, no. 

Pup. All right; let me get fixed. {Does so.) Now go it. 

Prof, {approaches him). John Delmonico, thou art rich. I 
would have money for my starving family. Give me money or you 
die! 

Pup. You've struck the wrong man now, my friend, I'm dead 
broke — I ain't got a cent. 

Prof, {beats him). You stupid blockhead ! 

Pup. Oh, don't ! I didn't mean any harm. 

Prof. Nonsense ! I'm trying to learn you how to act. 

Pup. You ain't mad ? {Bus.) Oh, that's all right, then. 

Prof. Now I'll take your part, and you stop me, and say, " John 
Delmonico, thou art rich. I would have money for my starving 
family. Give me money or you die!" and I'll show you how to 
reply. {Does so, and pupil approaches.) 

Pup. What's the man's name ?" 

Prof. John Delmonico. 

Pup. Oh, yes; once more. {Same bus.) "Box of dominoes." 

Prof. No, no ! John Delmonico — can't you recollect ? 



8 MUSIC VS. ELOCUTION. 

Pup. Certainly, of course. (Same bus.') "Johnny Donahue." 

Prof. No, you confounded numbskull — John Delmonico ! 

Pup. Say, don't get mad; go it again! (Same bus.) "John 
Delmonico, thou art wealthy. Give me money for my wife and 
seventeen small children, or I'll bust you in the snoot. 1 ' 

Prof. Nevyar ! base robber ! Away ! I dispute thy demand 
with my life ! 

Pup. (retires to R. h. coi-ner of stage). Throw me over the 
cliff! Dash me among the rocks ! Light the red fire ! Throw me 
over the cliff. 

Prof. Get up ! Go home, and tell your mother you can't act. . 

Pup. Oh, she knows it. 

Prof. Why did she send you here to annoy me ? 

Pup. Oh, I can't act. 

Prof. No ; you cannot. Can you do anything else ? { 

Pup. Yes, I'm a musicianer. 

Prof. What do you play ? 

Pup. I play on the oompah. 

Prof. Where is it ? 

Pup. Outside de door dar. 

Prof. Go and get it, and if you cannot play better than you can 
act, look out for me. (PuPiLgoes out, and brings in an instrument, 
whatever the performer plays.) That's the biggest dumb-head I 
ever met. (Pupil comes front of stage.) Do you play a tune on 
that. 

Pup. Yes, lots of them. 

Prof. Why do you call it the oompah. 

Pup. Don't you know what a oompah is ? 

Prof. No, I do not. 

Pup. Didn't you never see a brass band goin' down de street ? 

Prof. Often. 

Pup. (imitating). A-ra-ta-ta-ra-ra. Oom-pa-oom-pa-oom-pa-pa- 
oom-pa ! 

Prof. Can I assist you on the violin ? 

Pup. Yes ; I'll play, you do the oom-pah. 

Prof. Go it. (Pupil plays a tune; Professor plays an ac- 
companiment.) Well, you have redeemed yourself. Let's play 
something else. 

Pup. Oh, no; same thing. 

Prof. Why ? 

Pup. We're goin' up another street, and them people ain't heard 
it. (Go to l. of stage j both play and march off.) 

CURTAIN. 



TWO NEW PLAYS FOR CHILDREN. 



MISS MATILDA'S SCHOOL 

A Comic Operetta for Boys and GrRLS. 
By GERTRUDE MANLY JONES. 

Suitable for parlor or school entertainments. The music selected from famil- 
iar and popular airs. One female ( adult) and any number of children. Scene, 
a school-room ; costumes, easy. This is a very amusing piece, ajd sure to please 
the children. Plays thirty-five minutes. 

Price, 15 cents. 



HALF AN HOUR WITH A GIANT. 

A Holiday Operetta for Children. 
By GERTRUDE MANLY JONES. 

Adapted to familiar and popular airs. For almost any number of boys and 
girls. Scenery, unimportant; costumes easy. Tins is not only a very amusing 
and entertaining piece, but it teaches, as well, a very impressive and useiul lesson. 
Plays half an hour. 

Price, # . . • • 15 cents. 



TWO NEW PLAYS FOR LADIES. 



MY AUNT'S HEIRESS. 

A Comedy in One Act. 

FOR FEMALE CHARACTERS ONLY. 

Eleven female characters, two of whom are children. Scene, a simple inte- 
rior ; costumes, modern. This amusing piece is well adapted for school perform- 
ance, its humor being abundant and refined. Plays one hour. 
Price, 15 cents. 



A WONDERFUL CURE. 

A Farce in One Act. 

FOR FEMALE CHARACTERS ONLY. 

Four "iris Scene an ensy interior; costumes, modern. A very lively and 
amusing little piece f ■ .r pari, w or stage performance. Plays forty-five minutes. 
Price, 15 cents. 



Baker's Monthly Bulletin. 



TO MEET MR. THOMPSON. A Farcical Sketch in One Scene. 
By Clara J. Denton. Eight female characters. Scene, a parlor, very simple; 
costumes modern, and all requirements very easy. An admirable drawing- 
room piece. Plays fifteen minutes. (1890.) 

PLACER COLD; or, How Uncle Nathan Lost his Farm. A 
New England Drama in Three Acts. By David Hill. Ten male and five 
female characters. Scenery, not difficult ; costumes, modern. This comedy- 
drama of New England life is of the general class to which "Old Jed Prouty" 
and " Joshua Whitcomb " belong. Its scenes, characters and humor are rustic ; 
its interest, simple but strong. Uncle Nathan is a strong part. Gipsy, the waif, 
is an admirable soubrette, as good as " M'liss." Mike and Joe, good Irish 
comedy characters. (1890.) Price, 25 Cents. 

M^S. WILLIS' WILL. A Comic Drama in One Act. Five female 
characters. Scene, a rustic interior, very easy. Costumes, everyday and eccen- 
tric. This piece has an excellent plot, and is very funny. Few plays for female 
characters only are as satisfactory in performance. 

INN1SFAIL ; or, The Wanderer's Dream. A Drama of Irish Life 
in Four Acts. By Richard Quinn. Seven male and three female characters. 
Scenery not difficult ; costumes of the period. This piece is interesting in story 
and depicts Irish patriotism, sentiment and humor, with truth and vigor. The 
character of Felix is an admirable one, the player assuming many disguises in 
course of the action. Effie (lead) and Mary Anne (soubrette) are both good parts; 
Benner (heavy) and Con o' the Bogs (heavy comedy) very effective. (1889-1890.) 

CHUMS. A College Farce in One Act. By the author of "Class Day." 
Three male and two femaie characters. Scenery and costumes, very easy. Tom 
Burnham wears ladies' costume throughout the piece, and all the characters 
may be played by men, if desired, as in the original performance by Graduate 
Members of the Pi Eta Society, of Harvard College, at Beethoven Hall, Boston, 
February 29, 1876. A very funny piece and a sure hit. (1890.) Price, 25 Cents. 

WHEN THE CURTAIN RISES. A collection of short plays for 
parlor perlormance. By Ilaka J. Denton. The plays in this collection are 
short, bright and easy to get up, just the thing for the " Home Theatre." No 
scenery is needed, and no costumes that do not hang in every one's closet. Con- 
tents : The Man who went to Europe. A Comedietta in One Act, for four 
males and two females. All is Fair in Love. A Dr.. ma in Three Scenes, for 
three males and two females. "W. II." A Farce in One Act, for one male and 
three females. A Change of Color. A Drama in One Act, for two males and 
three females. To Meet Mr. Thompson. A Farce in One Act, for eight fe- 
males. (1890.) Price, 25 Cents. 

BOUND BY AN OATH. A Drama in Prologue and Four Acts. By 
David Hill. Six male and four female characters. Scenery, not simple, but 
easily simplified ; costumes, modern. This is a strong and stirring melodrama of 
modern life and times. The comedy element is furnished by a negro and a quaint 
old woman's part. Elias, the "oath-bound," is a strong part; Seth is a good 
light comedy villain, and Jacob a strong "heavy" part. (1890.) Price, 25 Cents. 

THE GRANGER; or, Caught in his own Trap. A Comedy in 
Three Acts. By David Hill. Eleven male and two female characters and 
supers ; six male characters only being important. Costumes modern and ec- 
centric rustic. Scenery may be made elaborate or simple, according to circum- 
stances. John Haymaker is a good character, new to the stage, and full of rustic 
'junior and shrewdness. Alvin Joslyn, as played by Mr. Davis, comes nearest to 
it in flavor. The other characters are excellent, generally rustic types and those 
of low life in the city, where the incidents of "The Granger's" second act 
occur. The story is original in idea, and of great humorous possibilities. Just 
the thing for a Grange entertaiment. Can be played with the simplest accessa- 
ries, yet will amply repay care in getting up. (1890.) Price, 25 Ceuts. 

THE BOOK OF DRILLS; Part First. A group of entertainments 
for stage or floor performance. By Mary B. Horne, the author of " The Peak 
Sisters," etc. Containing : A National Flag Drill (as presented by children 
in Belmont, Mass., at a Fair given by the Arachne, in December, 1888. Also as 
given by ten young ladies of the Unity Club in Watertown, Mass., Feb. 22, 1S89); 
The Shepherd's Drill; The Tambourine Drill (as given at a Rainbow 
Party by twelve little girls of the Third Congregational Society, Austin St., 
Cambridgeport, May 2, 18.S <) ; The Mother Goose Quadrille (as danced at 
the Belmont Town Hall, May 10, 1X89). (1889.) Price, 30 Cents. 



Baker's Monthly Bulletin. 



OUT OF HIS SPHERE. A Comedy in Three Acts. By David 
Hill. Five male, three female characters. Scenery, two simple interiors. The 
leading character is an old farmer, whose wish for the comforts of city life and 
the luxuries of wealth is answered in an unexpected and embarrassing manner. 
The piece abounds in rustic humor, the contrast between the simple old country- 
man and his city surroundings being ludicrously emphasized. All the characters 
are good and the piece easy to produce. Plays one hour and a half. (1889.) 

IN THE ENEMY'S CAMP; or, The Stol n Dispatches. A 
Drama in Three Acts. By S. J. Brown. Eight male, two female characters. 
Good leading parts, genteel villain, Irish and negro characters. Time of playing 
about two hours. The plot is concerned with imaginary events of the Rebellion, 
and it is not unsuited to the needs of Grand Army Posts. Scenery simple ; very 
easy camp scene. (1889.) 

S I X TO ONE; or The Scapegrace. A Comedietta in One Act. For 
one male and six female characters. By F. A. Matthews. Costumes, those of 
every-day life ; scenery, not at all necessary. Five types of society girl are sati- 
rized with a keen hand — the Boston Girl, the Philadelphia Girl, the Chicago 
Girl, etc., etc. The dialogue is bright and the situations amusing. The one male 
character is an excellent one and plays itself. Plays half an hour. 

OUT OF THE SHADOW; or, A Noble Sacrifice. A Drama 
in Three Acts. For six male and three female characters. By A. Vatter and 
J. E. SPENCER. Costumes modern ; scenery not difficult. The scene is laid in 
a New England factory town. The story is a strong and dramatic one, abound- 
ing in effective situations. The hero, an ex-convict, has won fortune and repu- 
tation in a new land, but is ever haunted by the shadow of disgrace, which finally 
comes to him in the person of Ramenoff, a fellow-convict. The climax of the 
piece is Ramenoff's abandonment of his pursuit for trie love of his daughter, 
whom his avowal will disgrace. Two strong leading parts for men, and good 
comedy character. Ihe third act reaches a climax of unusual power, and will 
electrify an audience. Plays two hours and a half. (1889.) Price, 25 Cent*. 

A BLACK DIAMOND. A Comedy in Two Acts. By M. R. Orne. 
Three male and five female characters. Scene, an easy interior ; costumes mod- 
ern. The leading character is a colored soubrette of the general flavor of Topsy 
in "Uncle Tom " — a great part for a lively comedy actress. Other characters 
good. A lively little play. (1890.) 

A KETTLE OF FISH. A Farcical Comedy in Three Acts. Six male, 
four female characters. Costumes, modern ; scenery all interiors. This amus- 
ing piece is adapted from the same source from which Mr. Daly derived his popu- 
lar "7-20-8," and is a sure humorous hit. Time in playing, two hours and a 
quarter. (189".) 

JfOTE.— The sole right to publicly perform adaptations from this source is 
claimed by Mr. Augustin Daly. As, therefore, ro right to play it can be given 
to purchasers of the books, the piece has been withdrawn from sale. 

A BOX OF MONKEYS. A Parlor Farce in Two Acts. By Grach 
~L. FtiRNiss. Two male and three female characters. Scene, an easy interior,, 
the same for both acts; costumes modern. This clever little play of modern 
society is strong in interest, brilliant in dialogue, sprightly and graceful in move- 
ment. It can be successfully played in a parlor without scenery. Sierra Benga- 
line, the heroine, is a typical American girl, full of fun and go. A capital part- 
Plays one hour and a half. (1889.) 

A LION AMONG LADIES. A Parlor Comedy in Two Acts. By 
Wm. F. Macv. Four male and four female characters. Scene, a simple inte- 
rior, the same for both acts ; costumes modern ; time in representation, one> 
hour. This little play was performed by the author and some friends with great 
success on several occasions. It is interesting, bright, easy to do, and has the 
unusual feature of construction that the female parts, two of which are especi- 
ally good, are most prominent in the action. Plays an hour and a half. (18'JO.) 

THE COLDEN GOOSE. A Play for Children, in Four Scenes. By 
H. Cunningham. Parts for ten boys and four girls. No singing. Scenery and 
costumes easily improvised. The characteristic features of this piece are sim- 
plicity, both of idea and expression, inexpensiveness in the getting up, and that 
choice of a subject already familiar to children, and so readily comprehended in 
dramatic form. Its story, besides, is entirely told in action. Thus, since some- 
thing is always being done as well as said, the juvenile attention is firmly held io> 
the end, and the interest perpetually excited. Plays three-quarters of an hour. 
(1890.) 



A NEW SHAKESPERIAN TRAVESTY. 



The Shakespeare Wooing 

A Play of Shreds and Patches taken from the Works of 
William Shakespeare. 



By M. M. TAYLOR, 

Part Author of "The Chronothanatoletron.' 



Two male, five female characters. Scenery, unimportant ; costumes, Shake- 
sperian. Plays about forty minutes. 

Price .... 15 cents. 

This most amusing entertainment treats certain well-known Shakesperian 
characters in a similarly whimsical way to that employed in "The Shakespeare 
Water-Cure" and "Place hux Dames." Its argument is, briefly, as follows: 
Lady Macbeth, being left a widow by the sudden and lamentable demise of 
her husband, falls in love with Komeo, and, taking advantage of Leap Year, 
woos him with gentle firmness. He refuses her, assuring her that he loves 
Ophelia. Lady Macbeth, mad with jealousy, procures an epitome of mod- 
ern literature from the three witches, former friends of her husband, and, giving 
it to Ophelia, causes her "reason's overthrow." Ophelia, having lost her 
reason, falls in love with Launcelot Gobbo. The play is ended by the remorse 
of Lady Macbeth, who restores Ophei ia to her senses and to' her lover, at 
the same time bestowing her own hand upon Launcelot. 

It is heartily to be recommended for its cleverness, its refinement, its taste 
and its wit, as well as for its dramatic quality. 



A NEW ENTERTAINMENT FOR GIRLS. 



The Soap-Bubble Drill 



By MARCARET FEZANDIE, 

Author of " The Tennis Drill." 



Price •••••....•15 cents. 

This novel and picturesque drill will at once recommend itself to all lovers 
of this style of entertainment. Sixteen little girls take part, or, if preferred, 
eight boys and eight girls can be used instead. The drill is equally adapted for 
the lawn, in summer, or the stage or drawing-room in winter, and not only 
attractively utilizes childish grace and beauty in its evolutions, but originally 
presents an attractive effect of color combinations in its costuming. It might 
be called, if desired, the " Rainbow Drill." 



AN ENTIRE NOVELTY. 



THE GREAT MORAL 

Dime Show 

AN ENTERTAINMENT IN ONE SCENE. 

By MARY B. HORNE, 

Author of "The Peak Sisters," Prof. Baxter's Great Invention," 

"The Book of Drills," "The Carnival of Days," 

"Plantation Bitters," Etc. 



Nine male, seven female characters. Costumes simple; scenery an ordinary- 
interior, or may be dispensed with altogether. Plays from half an hour upward, 
according, to the number and character of additional specialties introduced. 
Printed exactly as first performed by the Unity Club, Watertown, Mass., on 
Friday evening, February 5, 1S9L'. 



This most amusing entertainment is a burlesque of the ordinary "dime- 
museum," so-called, but is entirely devoid of the vulgarity of its original, and 
perfectly adapted to church or home performance. The characters are, save the 
lecturer and her assistant, a wonderful collection of "freaks" of nature (some- 
what assisted by art) who sing, dance or recite, according to tlieir special 
abilities, in illustration of the explanatory lecture. It is most elastic in its 
requirements, can be played on any stage or platform, with or without scenery, 
and with a greater or smaller number of characters, according to taste or 
necessity. It can be made uproariously funny, and is in character as Avellas fact 

A SEQUEL TO THE PEAK SISTERS. 

Price, 15 Cents. 



SY1TOPSIS. 

SCEXE.— The exhibition hall of Sister Keziah's Show. Sister Recall's intro- 
ductory lecture. Johnathan, the bashful assistant. Introductory hymn. 
Introduction of the "freaks." Daniel McGinty redivicus. Daniel's song. 
JLuciA Zauate, the celebrated Mexican dwarf. Kioto, the shortest-man 
alive, not financially. The wonderful MERMAID. The Mermaid's song. 
Cassius White, the ossified boy. A "rocky" recitation. Kalhti. the 
only specimen of his kind in captivity; illustrated by cuts. SlGNOK Galassi, 
the" celebrated Glass Eater. GalassI sing's. ALLEGR?) PensERoso, the won- 
derful two-headed girl; not to be confounded with the more common two- 
faced girl. Two ways of eating a pickle. Ida and Ione. the Grecian 
maidens. RAPHAEL Tintoret, the blind painter, who paints blinds in full 
view of the audience. Ah Chin and WFN Lung, the Chinese twins, ex- 
tremely well connected from birth. " The Land of Tea." K a-foOZLE-fi m. 
m the Turkish vocalist. Grand finale and curtain. 



B 



LIBRARY OF CONGRESS 

ill III III ill 1 1 III 111 

016 102 713 3 9 

AKBR'S SELECTED LIST 
OF JUVENILE OPERETTA5 



Designed especially for Church, School, and other Amateur Organ- 
izations. Complete, with all the music and full directions for 
performance. 



Grandpa's Birthday. In One Act. Words by Dexter Smith; 
music by C. A. White. For one adult (male or female) and tliree 
children; chorus, if desired. Price, 25 Cents. 

Jimmy, The Newsboy. In One Act. Written and composed by 
W. C. Parker. For one adult (male), and one boy. No chorus. 
Very easy and tuneful. Price, 25 Cents. 

The Four-leafed Clover. In Three Acts. By Mary B. Horne. 

For children of from six to fifteen years. Seven boys, seven girls, 
and chorus. Very picturesque. Price, 50 Cents. 

Beans and Buttons. In One Act. Words by Wm. H. Lepere; 
music by Alfred G. Roryn. Two male and two female characters; 
no chorus. Very comical and easy. Price, 50 Cents. 

Hunt the Thimble. In One Act. Words by A. G. Lewis; music by 
Leo It. Lewis. Two male, two female characters and small chorus. 
Simple and pretty. Piiice, 50 Cents. 

Red Riding Hood's Rescue. In Four Scenes. Words by J. E. 
Estabkook; music by J. Astor Broad. Three male, four female 
characters and chorus. Price, 50 Cents. 

Golden Hair and the Three Bears. In Five Scenes. By J. Astor 
Broad. Three adults (2 in., 1 f.), eight children and chonis. Music 
is easy, graceful, and pleasing. Price, 75 Cents. 

R. E. Porter ; or, The Interviewer and the Fairies. In Three 
Acts. Words by A. G. Lewis; music by Leo R. Lewis. Six male, 
six female characters, and chorus. Very picturesque and pretty. 

Prick. 75 Cents." 

Gyp, Junior. In Two Acts. Words by Fare Ma rule; music by 
D. F. Hodges. Two males, one female, (adult), three children and 
chorus. Very successful and easily produced. Price, 75 Cents. 

AlvinGray; or, The Sailor's Return. In Three Acts. Written 
and composed hy C. A. WHITE, Ten characters, including chorus; 
can be made more effective by employing a larger number. 

"Price, 75 Cents. 



Catalogues describing the above and other popular entertain- 
ments sent free on application' to 

WALTER H. BAKER & CO., 

THEATRICAL PUBLISHERS, 

No. 23 Winter Street, - Boston, Mass. 



